Simpson Mania


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Planet Simpson


Book Description

A smart, accessible and funny cultural analysis of The Simpsons, its inside stories and the world it reflects. From Bart Simpson to Monty Burns, the Internet boom to the slow drowning of Tuvalu, Planet Simpson explores how one of the most popular shows in television history has changed the way we look at our bewildering times. Award-winning journalist Chris Turner delves into the most esoteric of Simpsons fansites and on-line subcultures, the show’s inside jokes, its sharpest parodies and its ongoing love-hate relationship with celebrity to reveal a rarity of literary accomplishment and pop-cultural import — something never before achieved by a cartoon. Complementing its satirical brilliance, The Simpsons boasts a beloved cast of characters, examined here in playful and scrupulous detail: Homer, selfish, tyrannical and not too bright, but always contentedly beholden to his family; Bart, pre-teen nihilist and punk icon; Lisa, junior feminist crusader; and Marge, archetypical middle-American mother, perpetually dragging her family kicking and screaming to higher moral ground. And while the voice actors behind the regular cast have eschewed celebrity, Turner considers why a stunning host of guests — Hollywood icons and has-beens, politicians, professional athletes, poets and pop stars — have submitted themselves to the parodic whims of the Simpsons’ writers. Intelligent and rambunctious, absorbing and comic, Planet Simpson mines this modern cultural institution for its imaginative, hilarious, but always dead-on, reflections on our world. Excerpt from Planet Simpson Three Fun Facts About “D’ oh!” 1. The Oxford English Dictionary defines “d’oh” as “Expressing frustration at the realization that things have turned out badly or not as planned, or that one has just said or done something foolish.” 2. The origins of “D’oh!” A Tracey Ullman– era Simpsons script called for Homer to respond to an unfortunate turn of events thus: “[annoyed grunt].” Dan Castellaneta, the voice-actor who plays Homer, improvised the exclamation, “D’oh!” It stuck. 3. The godfather of “D’oh!” Dan Castellaneta freely admits that he lifted Homer’s famous yelp from James Finlayson, a Scottish actor who played a bald, cross-eyed villain in a number of Laurel & Hardy films in the 1930s. Finlayson’s annoyed grunt was a more drawn-out groan — Doooohhh! Castellaneta sped it up to create Homer’s trademark.




Simpson Mania


Book Description

A brief look at the Simpsons, the latest craze in television viewing. Find out how the show developed and how it's produced, the similarities with other shows from the past, and brief summaries of many of the episodes.




Simpson Mania


Book Description

Describes the development and production of "The Simpsons" and presents summaries of each show




Ebony


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EBONY is the flagship magazine of Johnson Publishing. Founded in 1945 by John H. Johnson, it still maintains the highest global circulation of any African American-focused magazine.




Twain's Brand


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Samuel L. Clemens lost the 1882 lawsuit declaring his exclusive right to use “Mark Twain” as a commercial trademark, but he succeeded in the marketplace, where synergy among his comic journalism, live performances, authorship, and entrepreneurship made “Mark Twain” the premier national and international brand of American humor in his day. And so it remains in ours, because Mark Twain's humor not only expressed views of self and society well ahead of its time, but also anticipated ways in which humor and culture coalesce in today's postindustrial information economy—the global trade in media, performances, and other forms of intellectual property that began after the Civil War. In Twain's Brand: Humor in Contemporary American Culture, Judith Yaross Lee traces four hallmarks of Twain's humor that are especially significant today. Mark Twain's invention of a stage persona, comically conflated with his biographical self, lives on in contemporary performances by Garrison Keillor, Margaret Cho, Jerry Seinfeld, and Jon Stewart. The postcolonial critique of Britain that underlies America's nationalist tall tale tradition not only self-destructs in A Connecticut Yankee in King Arthur's Court but also drives the critique of American Exceptionalism in Philip Roth's literary satires. The semi-literate writing that gives Adventures of Huckleberry Finn its “vernacular vision”—wrapping cultural critique in ostensibly innocent transgressions and misunderstandings—has a counterpart in the apparently untutored drawing style and social critique seen in The Simpsons, Lynda Barry's comics, and The Boondocks. And the humor business of recent decades depends on the same brand-name promotion, cross-media synergy, and copyright practices that Clemens pioneered and fought for a century ago. Twain's Brand highlights the modern relationship among humor, commerce, and culture that were first exploited by Mark Twain.




Atalanta


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Collecting Simpsons!


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The Forum


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